TASK 1 (Exploration)

Module Information (MI)

Module Assessment Tasks Document

I. RECAP

Assessment Task 1 focuses on exploring the fundamental principles of design and understanding how they function in real design works. The purpose of this task is not only to define each principle theoretically, but also to observe and analyse how these principles are applied in actual visual communication. Through exploration and documentation in this blog, students are expected to develop the ability to connect design theory with practical examples.

In this task, I will describe each design principle from the given list and support my explanations with suitable visual examples from external sources. I will then select a design work that interests me, justify my selection, and identify the design principles found in that work.

Through this process, I aim to strengthen my analytical skills, improve my visual awareness, and better understand how effective design communicates meaning through structured principles.

II. Design Principles Explanation

1. Gestalt Theory

Gestalt Theory explains how people perceive visual elements as organised wholes rather than as separate individual parts. Instead of analysing each component independently, the human mind naturally groups elements together to form meaningful patterns. Key principles within Gestalt Theory include proximity, similarity, closure, continuity and figure-ground, all of which help viewers interpret visual compositions efficiently.

    

Fig. 1.1 Example of Gestalt principle of closure

Fig. 1.2 Olympic Rings Logo demonstrating repetition of circular shapes

Fig. 1.3 Example of Gestalt Principle of Continuation – Abbey Road (1969)

Fig. 1.4 Example of Gestalt Principle of Proximity – London Underground Map

Fig. 1.5 Example of Gestalt Principle of Figure/Ground – The Silence of the Lambs

Fig. 1.6 Example of Gestalt Law of Symmetry & Order – Adidas Logo

The WWF panda logo demonstrates key principles of Gestalt theory, particularly closure and figure–ground perception. Although the panda is not fully outlined with continuous lines, strategically placed black shapes and negative space allow viewers to perceive a complete and unified animal form. This reflects the Gestalt principle of closure, in which the human mind automatically fills in missing visual information to create a coherent whole. Simultaneously, the white background functions as both ground and an active component of the figure, illustrating figure–ground organisation. Gestalt theory, first articulated by Wertheimer (1923), argues that individuals perceive structured wholes rather than isolated parts, and this perceptual tendency enhances clarity and recognisability in design. As noted by the Interaction Design Foundation (2023), such principles enable designers to simplify complex forms while maintaining strong visual identity.

2. Contrast

Contrast refers to the difference between visual elements such as colour, size, shape, texture or value within a design. It is used to create visual impact, improve readability and highlight important information.

Fig. 2 Example of Contrast – I ♥ NY Logo

The “I ♥ NY” logo demonstrates the design principle of contrast through its strong visual differentiation between text and symbol. The bold red heart sharply contrasts with the black typography, immediately drawing attention to the emotional core of the message. Additionally, the thick sans-serif letters contrast with the simple geometric heart shape, creating both colour and form contrast within a minimal composition. According to Lidwell, Holden and Butler (2010), contrast enhances visual hierarchy by emphasising differences in colour, shape, size, or form, allowing key elements to stand out clearly. In this design, the red heart becomes the focal point against the monochrome text, reinforcing memorability and emotional impact. The strategic use of high colour contrast ensures immediate recognition, demonstrating how contrast strengthens clarity and brand identity.

3. Emphasis

Emphasis is the principle of creating a focal point that draws the viewer’s attention to the most important element in a composition. Designers use size, colour, placement or contrast to achieve emphasis.

Fig. 3 Example of emphasis

In this illustration, the large red sphere immediately captures attention due to its bright colour and dominant size. Compared to the smaller blue blocks, the red object becomes the clear focal point. The placement of figures pushing the sphere further reinforces its importance, guiding the viewer’s eye directly toward it. This demonstrates how emphasis controls visual hierarchy within a design.

4. Balance

Balance refers to the distribution of visual weight within a composition. It can be symmetrical, where elements are evenly arranged on both sides, or asymmetrical, where different elements are balanced through size, colour, or placement.

Fig. 4.1 Example of Symmetrical Balance – The Grand Budapest Hotel

Fig. 4.2 Example of Asymmetrical Balance 

Fig. 4.3 Example of Golden Spiral Composition 

Fig. 4.4 Example of Rule of Thirds

The principle of balance refers to the distribution of visual weight within a composition to achieve stability and equilibrium. In the Apple “Shot on iPhone” campaign, balance is achieved through careful placement of the subject in relation to negative space. Even when the subject is positioned slightly off-centre, the surrounding empty space counteracts the visual weight, creating asymmetrical balance. According to Lidwell, Holden and Butler (2010), balance occurs when elements are arranged so that no single area dominates the composition excessively, whether through symmetrical or asymmetrical means. The contrast between subject and background, along with proportional spacing, ensures that the design feels stable and harmonious. This demonstrates how balance enhances clarity, hierarchy, and aesthetic control in contemporary visual communication.

5. Repetition

Repetition refers to the repeated use of visual elements such as shapes, colours, lines or typography to create consistency and unity within a design. It helps establish rhythm and strengthens the overall visual identity.

Fig. 5 Example of Reception – Inception (2010) Theatrical Poster

The official theatrical poster of Inception (2010) features a dramatic urban environment with buildings visually distorted and collapsing inward, creating a surreal spatial effect. The central character is positioned near the lower centre of the composition, while towering architecture surrounds him, reinforcing themes of instability and layered realities. The cool blue colour palette and strong perspective lines guide the viewer’s eye toward the focal point, establishing depth and tension within the frame.

6. Movement

Movement refers to the visual path that directs the viewer’s eye through a composition. Designers create movement by arranging elements in a way that guides attention in a specific direction, often using lines, curves or dynamic positioning to create flow.

Fig. 6 Movement created through directional composition in The Great Wave off Kanagawa

In this artwork, the large curved wave dominates the composition and directs the viewer’s eye from the top left toward the boats below. The sweeping motion of the wave creates a strong sense of movement and energy. The repetition of curved lines reinforces the flow, guiding the viewer across the image. This demonstrates how movement can be created through directional shapes and dynamic composition, allowing the design to feel active rather than static.

7. Harmony and Unity

Harmony and unity refer to the sense of coherence created when all elements in a design work well together. Harmony ensures that visual components such as colour, typography and spacing are compatible, while unity integrates them into a complete and organised whole.

Fig. 7 Harmony and unity demonstrated in Apple website design

In this example, harmony is achieved through a consistent colour palette, clean typography and generous use of white space. The layout structure remains balanced and uncluttered, allowing each element to support the overall visual system rather than compete for attention. The repetition of minimalist design language across the page creates unity, making the entire composition feel cohesive and professionally refined. This demonstrates how harmony and unity contribute to clarity and strong brand identity.

8. Symbol

A symbol is a visual representation that communicates ideas, concepts or values beyond its literal form. Symbols simplify complex meanings into recognisable imagery that can be quickly understood by a broad audience.

Fig. 8.1 Drive-Thru Pictogram Sign

Fig. 8.2 Toilet Logo (Abstract Symbol)

Fig. 8.3 Red Cross Emblem(Mobius Loop)

The Starbucks Siren logo functions as a symbolic visual identity rather than a literal representation of coffee. Although the image is inspired by a mythological siren, the stylised green emblem does not directly depict beverages or café culture. Instead, its meaning is constructed through branding, repetition, and cultural association. According to Chandler (2007), a symbol is a sign whose meaning is established through social convention rather than direct resemblance. Over time, the Starbucks Siren has become globally recognisable, even without the brand name, demonstrating how symbolic design can convey brand values such as community, warmth, and premium experience. The circular composition and simplified illustration enhance memorability, illustrating how symbols translate abstract brand identity into a strong and enduring visual mark.

9. Word and Image

Word and image refer to the relationship between textual and visual elements within a design. When effectively integrated, text and imagery support one another to communicate a stronger and more unified message.

Fig. 9 Keep Calm and Carry On Poster (1939)

The “Keep Calm and Carry On” poster is a strong example of word and image integration in design. The composition combines bold, uppercase typography with a simple crown icon positioned above the text. The crown symbol reinforces authority and national identity, while the phrase delivers a clear motivational message. According to Barthes (1977), text can function as “anchorage,” guiding viewers toward a preferred interpretation of an image. In this case, the image (the crown) supports the meaning of the words, while the typography anchors the symbolic authority of the crown. The minimal colour palette and centred alignment further strengthen clarity and impact. This demonstrates how the strategic interaction between words and imagery enhances persuasion and communicative effectiveness in poster design.

III. Selected Design Work

Fig. 10 United – The United Nations Fight for Freedom (1943)

Title: United – The United Nations Fight for Freedom

Designer: Leslie Ragan

Year: 1943

Medium: Lithograph poster

Size: 57 × 40.5 cm

Publisher: United States Office of War Information

Source: File:UN Fight for Freedom Leslie Ragan 1943 poster - restoration1.jpg - Wikipedia

I chose this design because it strongly communicates the idea of unity and collective strength during wartime. The large word “UNITED” immediately captures attention and establishes the central message of solidarity among allied nations. The arrangement of multiple national flags creates a sense of movement and upward momentum, symbolising cooperation and shared purpose.

The dramatic use of colour contrast between the dark smoke and the bright flags enhances visual impact and reinforces the emotional intensity of the scene. The composition feels powerful and dynamic, drawing the viewer’s eye from the top headline down through the flags and toward the military elements below.

This poster demonstrates how graphic design can be used not only for aesthetic purposes but also as a tool for persuasion and communication. I was particularly interested in how historical propaganda design uses strong visual hierarchy, symbolism and repetition to convey political messages effectively. The design remains visually compelling even today, showing the lasting power of well-structured composition and clear visual messaging.

Design Principles Observed

• Movement
• Harmony and Unity
• Symbol
• Word and Image

Reference

Apple Inc. (2024). Apple official website. https://www.apple.com

Campaign for Nuclear Disarmament. (1958). Peace symbol history. https://cnduk.org/about/history/

Glaser, M. (1977). I ♥ NY logo. New York State Department of Economic Development. https://esd.ny.gov

Hokusai, K. (1830–1832). The Great Wave off Kanagawa. The Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/45434

International Olympic Committee. (2023). The Olympic rings. https://olympics.com/ioc/olympic-rings

Interaction Design Foundation (2023) Gestalt Principles. Available at: https://www.interaction-design.org/literature/topics/gestalt-principles

Lidwell, W., Holden, K. and Butler, J. (2010) Universal Principles of Design. Beverly, MA: Rockport Publishers.

Ragan, L. (1943). United – The United Nations Fight for Freedom. United States Office of War Information. Library of Congress. https://www.loc.gov/item/2002712004/

Santa Monica Cultural Affairs. (n.d.). Open Art Studios poster. https://www.smgov.net

World Wildlife Fund. (n.d.). WWF logo. https://www.worldwildlife.org

Feedback

Week 3

I have checked your Task 1 blogpost and below are my comments:

1. Include the Module Information (MI) and the Module Assessment Tasks documents at the beginning of Task 1 blogpost. 
2. You have only listed the design principles in the blog so far. You are supposed to write your understanding for each design principle listed in the Module Assessment Tasks brief and include a suitable design example for each principle. Please read the Module Assessment Tasks document carefully for the details. 
3. Every image must be accompanied by a figure number, a short caption, e.g. Fig. 1 Example of contrast, and source.  
4. Include a reference list at the end of Task 1 for the research you have conducted.
5. Please complete Task 1 (read and follow the instructions for Task 1 in the Module Assessment Tasks document) by the time we meet next week in class so I can give you further comments.

Week 4

The lecturer suggested that I should strengthen the academic quality of my work by including more references in the analysis sections. Some explanations were well-written, but they lacked sufficient theoretical support from academic sources. Adding proper citations would improve credibility and demonstrate stronger engagement with design theory.

In addition, several slides were visually incomplete. For example, in the “Symbol” slide, the concept was divided into three categories (pictorial, abstract, and arbitrary symbols), but only one image was provided. Each category should be supported by its own corresponding visual example to clearly illustrate the differences. This would improve clarity, visual consistency, and alignment between theory and examples.

Furthermore, in the MI (Module Information) section, the full and complete module information should be included instead of a shortened or partial version. The lecturer emphasised that all required academic components must be presented completely to meet submission standards.

Overall, the feedback highlighted the need to:

1. Add more academic references in the analysis.

2. Ensure all conceptual categories are supported by corresponding images.

3. Provide complete and accurate module information in the MI section.